It has been an extremely good Christmas, not only did I manage to find a 1979 Fender Stratocaster, I also received a little Levin LT-14 from 1965. It’s the smallest of the 1960’s Levin guitars and is roughly like a Martin 00 in size. I bought it about two weeks ago from a guy in Heidelberg, Germany and then it got stuck in some warehouse over Christmas until the Spanish post service could be asked to deliver it. It’s an awesome guitar, pretty much like my dad’s old Levin LT-16 but a tiny bit smaller and with a bit less bass but with more clarity in the upper register. It’s also ladder braced instead of X braced which is not necessarily a bad thing in this case, it gives it a pretty great sound. The weirdest thing is that it’s so well kept for being 50 years old, close to mint and it can’t have been played much in it’s life. Well that’s going to change now because I really like it, especially for finger picking and I’m sure it will mature and sound better and better the more it gets played. This is my 10th Levin, or 11th if you count a Levin LS-16 that I have waiting for me in Sweden. Perhaps it’s time to stop buying old Levin guitars but I can’t, they are just too good to turn down. I have liked some of my Levin guitars less and then one day they surprise you and just sound amazing. I guess the more you play them, the better they sound.
It’s the first time I get a 50 years old guitar home and I have to do nothing to it. There are actually no scratches to the top, that’s just in the grain of the spruce.
Levin LT-14 / Goya T-14 Grand Concert size: Body width: 360 mm, body length: 465 mm, body depth: 98 mm
Fingerboard width: 43 mm, scale length: 630 mm
Spruce top, mahogany back and sides, 4-ply bound top, single-bound back
Mahogany bolt-on neck with adjustable truss rod
Unbound rosewood fingerboard with bass side dot inlay
Nickel plated individual Van Gent tuners with metal buttons
Rosewood bridge, matte natural finish and one year warranty
Now I actually have all three, the Levin LT-18, well it’s a Goya T-18 but close enough, my dad’s old Levin LT-16 and this new little Levin LT-14. Taken from a 1965 Levin catalogue. Thanks to Vintage Guitars Sweden
Update: January 26, 2014 My Levin LM-26 from 1959 is now finished
Bell ad from 1962 for the wonderful extra large sized Levin Goliath Model 1795
As I mentioned in my previous post about Levin I managed to win a Levin LM-26 on eBay back in December. It turned out to be in a worse state than I expected which I guess is both good and bad. Bad because it’s unplayable so I still don’t know how it sounds, good because I’m forced to learn a lot of new things, like how to remove the neck on an acoustic guitar. The Levin LM-26 was sold as The Levin Goliath Model 1795 in the UK and I think they sold pretty well, even Pete Townshend had one. They have spruce top with flame maple back and sides, all solid as always with Levin. If you want to know how old your Levin or Goya is then check Vintage Guitars Sweden. Levin serial numbers / Goya serial numbers
Pete Townshend is playing a Levin Goliath LM-26 in 1963 with Detours, later The Who
Levin LM-26/ Goya M-26 Goliath size: Body width: 400 mm, body length: 505 mm, body depth: 95/120 mm
Fingerboard width: 43 mm, scale length: 630 mm
Spruce top, flame maple back and sides, 4-ply bound top, single-bound back
Mahogany bolt-on neck with adjustable truss rod
Metal truss rod cover with a star and “1900”, nickel plated tuners
Single-bound rosewood fingerboard with centered pearl dot inlay, rosewood bridge
Sunburst finish and ten year warranty
Marketed by U.K. distributors as Goliath Model 1795.
Levin LM-26 from 1959, well the body is actually stamped with a number from 1958, the year this model was introduced. I’m not sure if they used an old body when they put they guitar together at the Levin factory in Gothenburg in 1959 or if someone changed the neck when the guitar came to the UK. The previous owner for the past 51 years, Roger, bought the guitar second hand in 1963 for £40 from Bill Greenhalgh Ltd, 125-127 Fore Street in Exeter. Roger changed the original machine heads to Grovers in 1965, it’s otherwise all original. The action was so high that I could almost fit my hand under the strings so I had to remove the neck and reset it. There are a few things that needs to be glued as well, the back is lose and there are 2-3 cracks in the top.
I have never removed a neck before so I was pretty nervous about this part. It’s supposed to be one of the trickier things to sort on an acoustic guitar but luckily this neck was fixed with the Levin bolt-on neck system which made it a lot easier. I removed the two bolts inside and the heel came lose straight away, now I only had to loosen the fretboard overhang. I removed the pickguard with a razor blade, cutting under the edge, just to make sure I wouldn’t melt or damage it while removing the neck. Then I used a normal clothes iron to heat up the fretboard, I don’t have any fancy pants Stew Mac tools or special gadgets. I heated up the fretboard for 1-2 min and felt with my hand every 30 sec to make sure it didn’t get too hot, I thought if I could still touch it maybe I wouldn’t burn or damage the lacquer on the top. It took ages to get it off, I think I probably spent 1-2 hours per night for 3 nights in a row on this. The glue loosened more and more and in the end I could get a flat screwdriver in and bend it loose. Unfortunately a chunk of spruce decided to stick to the neck instead of the body but to be honest I expected worse damage than that on my first attempt to remove a neck. I used my clothes steamer and steamed the spruce loose from the mahogany neck, it peeled right off, and just glued it back in the neck pocket again.
I masked off the top and sanded the pocket even so now the neck will fit fine once I’m ready to put it back on. I had to get the gap on the back closed. I’m not a master gluer and since you pretty much just get one shot, or rather it’s really annoying to remove and re-glue things if they aren’t perfect, I was a bit concerned about this too. I used plenty of fish glue and then 4 strong straps that could not only press in the back but also press down the the sides to close the gap as much as possible. I’m pretty pleased with the result, the gap is gone and it seems pretty solid.
Next thing was to try to close the cracks on the top. One was all the way through and two was smaller hairline cracks. I filled everything with fish glue and used a suction cup to try to push in the glue in the cracks, I saw this on Youtube and it made sense to me so I tried it. Then I just strapped everything up and put a piece of wood the keep the main crack flat while it dries.
Once I had glued the cracks in the top, the first image shows before I started, I painted and lacquered the crack. I used normal matt black acrylic paint for the dark parts and just darkened the rest with furniture oil before I applied the nitrocellulose lacquer. Once the lacquer was dry I sanded the surface smooth with 400, 800, 1500, 2000 and 2500 grit. It worked really well, it’s actually hard to even see the big crack that went all the way from the edge to the bridge. I removed the old glue from the pickguard and then glued it back again.
The neck was in really poor state, deep groves and marks all over it. I filled it with nitrocellulose lacquer, as mentioned in my previous post about how to repair lacquer damage. I had to take out the heavy artillery in order to get the neck smooth and used 180 grit. Then it was just a matter of sanding it back to it’s former shine using 400, 800, 1500, 2000 and 2500 grit. You can still see the marks but the neck is perfectly smooth and shiny again.
According to Roger the guitar has been stored in a back room in it’s case for the last three decades and I guess the humidity wasn’t ideal, hence the cracks. As soon as I got the guitar I started to humidify it with a wet sock in a plastic container inside the body and then sealed of the hole with a lid from a Mercadona lunch box. The Grover machine heads from 1965 got a good clean and is now oiled up and works fine. In the last picture you can see what lied hidden in the accessory compartment in the old hardcase. Old guitar and banjo strings, an old sellotape box full of fingerpicks and best of all, an original Levin trussrod key. I’ve been looking all over for one of these. Thank you Roger.
Last week I managed to become the proud owner of two new, or rather very old, Levin guitars. With some persistence, a huge dose of luck and some money changing hands I managed to get them both here safe and I already love them. I have always been a huge fan of Hagström, also built in Sweden, but didn’t know how much I loved Levin until I figured out that my dad’s old guitar was actually a Levin. It doesn’t have any markings on it but you can read about my Levin epiphany here. The problem with old guitars is that they quite often forgot to mention the model anywhere, so you have to do a lot of detective work. Luckily for me there is an awesome guitar shop, Vintage Guitars Stockholm, that has more or less everything Levin has ever made listed on their Levin information pages. They also have some info on Hagström and the brands built by Bjärton, and the rest of the brands built by Levin: C. F. Martin & Co, Clangiton, El-Goya, Goya, Kay-Tone, Klangola, Torres, Zandelin, Nivello, Rondo. I managed to track mine down to a Levin LT-16, Levin Model 65 and the amazing Levin Model 13 Ambassadör. These Levin guitars are a bit thin sounding compared to other guitars, well I don’t have any other guitars that are 70 years old, but still. Then again they aren’t full sized so no wonder that they lack a bit of bass compared to a dreadnought, but they are very light and extremely resonant in the higher register so they are perfect for finger picking. Either way I’m super happy to have found four so old and amazing guitars that have been built in the country where I grew up, Sweden.
Maybe I should add a little disclaimer here, this was originally posted back in August 2013, the Levin collection and my appreciation and understanding of the brand has grown a bit since then.
Herman Carlson Levin was a young furniture maker that moved from Gothenburg to America and got a job at a guitar manufacturer in 1888. He soon started his own company in New York building instruments and while he was back visiting Sweden he realised that the demand was even higher there. He moved back home and in 1895 started Herman Carlssons Instrumentfabrik in Gothenburg. They were only five instruments makers in 1903 when they built their 1000th guitar but they soon grew bigger and bigger. The factory was one of the best in Europe and between 1904 and 1912 Levin received many awards including the gold medal in Madrid in 1907 for best guitar as well as the exhibition’s Grand Prix price. By 1936 the 100,000th instrument had left the plant and Levin was marketing a successful line of archtop guitars, like the world famous Levin De Luxe 1938. Shortly before 1940 Levin employed a crew of 45 in facility of a 1000 m². In the 1950s, Levin launched a line of inexpensive guitars intended for schools and novice guitar players. These guitars were of lower quality than the rest of the Levin line up. In 1952 Jerome Hershman a guitar distributor from America noticed Levin guitars at a trade show in Germany and convinced the Levin company to let him market their guitars in America under the name Goya, Levin apparently sounded too Jewish. He also got Hagström to make some fine electric guitars for the US market as well. These nylon stringed Levin / Goya guitars got quite popular in the late 1950’s and especially with the folk singers in the 1960’s when they started to produce steel stringed guitars on a typical nylon stringed body. When Goya was sold in 1968 the Goya export was approximately 70% of Levin’s total production. They had a huge contract with Goya that they lost in this sale, something that took really hard on Levin and they had to close down the second factory they opened in Lessebo and let half of its work force go. A lot of companies got bought and sold over the next few years, Kustom bought Goya, Dude bought Kustom and in the end C. F. Martin & Co bought them all. In 1973 when Martin bought Levin, it became the headquarters for Martin Guitars and their Japan import brand Sigma Guitars in Europe, as well as actually producing a run of some 200 Martin D-18 acoustic guitars, which were labelled “LD-18 – Made In Gothenburg, Sweden. These are quite rare and expensive today. The last “real” Levin built in Sweden left the factory in 1979, they are still building nylon stringed Levin guitar in Sweden to this day. In 1982 Svensk Musik AB bought the name Levin and the remaining stock from C. F. Martin & Co and in 2000 they changed their name to Svenska Levin AB. They are now producing steel stringed guitars in the far east and have a small batch of nylon stringed guitars being built in Sweden. Here is the whole story about Levin together with some amazing photos, Levin History.
Hootenanny Singers sure liked their Levin guitars. Björn Ulvaeus, the guy on the far right got a bit famous later on with his next band, ABBA.
Levin was pretty much the main brand for acoustic instruments in Sweden back in the days. We also had Bjärton but they mainly made nylon stringed guitars and of course Hagström but they were more famous for their electric instruments, even though they built some really nice acoustic guitars together with Bjärton like the legendary Hagström J-45.
I’m not sure if it was the handsome chap to the left that built my Levin Model 13 Ambassadör. The Levin guitar factory on Kvillegatan 9 in Gothenburg in the late 1940’s.
Taken from the Levin catalogue 1968
In 1972 negotiations between the C. F. Martin & Co. and Levin results in that C. F. Martin & Co. purchases Levin in June 1973 and Levin got to make some 200 Martin D-18 acoustic guitars, which were labelled “LD-18 – Made In Gothenburg“
Levin LT-14 Made in Sweden in 1965
It’s the first time I get a 50 years old guitar home and I have to do nothing to it. There are actually no scratches to the top, that’s just in the grain of the spruce.
Now I actually have all three, the Levin LT-18, well it’s a Goya T-18 but close enough, my dad’s old Levin LT-16 and this new little Levin LT-14. Taken from a 1965 Levin catalogue. Thanks to Vintage Guitars Sweden
The Levin family at the moment, from left to right: Goya GG-172 (1970), Levin Model 13 (1950), Goya Model 163 (1968), Levin Model 174 (1972), Levin Royal (1951), Levin LM-26 (1959), Levin Model 65 (1942), Goya T-18 (1966), Levin LT-14 (1965), Levin LT-16 (1966)
Once I had glued the cracks in the top, the first image shows before I started, I painted and lacquered the crack. I used normal matt black acrylic paint for the dark parts and just darkened the rest with furniture oil before I applied the nitrocellulose lacquer. Once the lacquer was dry I sanded the surface smooth with 400, 800, 1500, 2000 and 2500 grit. It worked really well, it’s actually hard to even see the big crack that went all the way from the edge to the bridge. I removed the old glue from the pickguard and then glued it back again. 
The Levin family back in the days, from left to right:
Claescaster 